Research Paper

3 C's of Architectural Space

Gökçe Ketizmen ONAL*
Faculty of Engineering and Architecture, Eskisehir Osmangazi University, Eskisehir, 26030, Turkey

Abstract: Architectural space has mainly two forms: spatial and corporeal. Within this context, the main purpose of the study is
re-theming and interpreting the new connections within these two forms of architectural space by the help of three concepts; Con-
ciseness, Continuity and Compatibility, called as the 3C`s of Architectural Space. The subjects of these three are presented as an open
system in order to extract transferable ideas for re-theming the meaning of space. These concepts are evaluated with their reality in
built forms through on-site observation inside the selected buildings. This study approaches architectural space clarifying the rele-
vance of design elements and providing a reference framework for them.
Keywords: Architectural space; Conciseness; Continuity; Compatibility
*Corresponding Author: Gökçe Ketizmen, Eskisehir Osmangazi University, Department of Architecture, Bademlik Campus,
Dede District 26030 Odunpazarı/ Eskişehir, TURKEY E-mail: gokceonal07@gmail.com, gonal@ogu.edu.tr
DOI: https://doi.org/10.30564/frae.v1i2.49

1. Introduction day` life is itself alienated that it is through daily life in

particular that social relationships are reproduced. (Cited

A
part from its sheltering function, architecture acts
in its own way as a mediator and horizon within
the human living environment. It enables people
to locate and orientate themselves and also it has mental
and physiological foundations and associations (Buchert,
2014: 46). Michael Hays (2010:12) examines architecture
as a way of negotiating the real, by intervening in the
realm of symbols and signifying process at the limit of
the social order itself. Architecture is also a speci c kind
of socially symbolic production whose primary task is
the construction of concepts. Architecture that is always
charged with the task of shaping the human habitat and
has a fundamental in uence on people's daily physical en-
vironment has different possibilities than the ne arts due
to its degree of freedom and its constructive and technical
restrictions. (Buchert, 2014 , p. 46). Space, as the medium
of all these interactions, is created by natural and arti cial
settings that architecture involved in this process.
Beginning from Plato and Aristotle, there are so many
de nitions and studies on the meaning of space. The na-
ture of the relation between architecture and space raises
a number of philosophical questions in diverse disciplines
like, perception (Pallasmaa, 2005; Edward, 1990), phe-
nomenology (Merleau-Ponty, 2004; Heidegger, 1993;
Bachelard, 1964) methodology (Buchert, 2013). Heideg-
ger (1993: 358) de nes space, as it is neither an external
nor an inner experience; it is not something predetermined
and fixed. On the other hand, Lefebvre (1998) defines
space as a social product and hypothesized that `day-to-
in Busquet & Lavue, 2013:2). Research on architectural
space often merges of with that of place. According to
Tuan, (2001) the ideas "space" and "place" require each
other for de nition. Author particularly states that `from
the security and stability of place we are aware of the
openness, freedom, and threat of space, and vice versa...
Moreover, while space is an open and abstract area, place
is deliberated as a location, a part of space achieves its
particular identity through the factors inside it. (Parsaee,
Parva & Karimi, 2015,p. 370).
Architectural space, it's meaning as a part of architec-
tural design; principles and values are the main concern of
this study. Architectural space has two forms: spatial and
corporeal, and space is the integrated entity of all these
two forms. In this way, the main purpose of the study is
re-theming and interpreting the new connections within
these two forms of architectural space by the help of three
concepts; Conciseness, Continuity and Compatibility,
called as the 3C`S of Architectural Space. These three
concepts are considered as the integrated concepts for ana-
lyzing the meaning of architectural space. The subjects of
these three are presented as an open and atypical system
in order to extract transferable ideas for re-theming the
meaning of space. These concepts are evaluated with their
reality in built forms through on-site observation inside
the selected buildings. This study approaches architectural
space clarifying the relevance of design elements and pro-
viding a reference framework for them.

63
Frontiers Research of Architecture and Engineering Volume 01 Issue 02 April 2018
2. 3C'S of Architectural Space
"Architecture is 'art' when the design of space is clearly
takes precedence over the design of the objects. Spatial
intention is the living soul of architectural creation."
——August Schmarsow, 1897; Cited in (Meiss, 2013, p. 130)
As the core of architecture, space is about everything
related to the life itself. It is the crucial part of a very fun-
damental and universal form of communication. (Lawson,
2001, p. 6) In particular in this study the main concern
about space is that it is an entity that is created in and
around architecture. For Lawson (2001:6) architecture
manages space, and its interiors and the objects covering
and inhabiting its rooms can enable or inhibit our activi-
ties. Spatial form of space is de ned by the in uence of
social practices, sociality, and also the contextual sur-
rounding, as historicality. (Grobler & Le Roux,2006).
This dimension also covers the idea of perception, sense
and experience. Additionally, corporeal form of space is
not just to structure the topology of the design form, but
also rather to give it a coherent and intelligible form. It
carries this function by operating within the context of a
symbolic system (Bafna, 2005). Moreover consideration
of corporeal form in building is not merely a matter of
giving visual shape and meaning to buildings, but is cen-
tral to the making and understanding of spatial form as
well`.( Bafna, 2003) . The term also deals with the visual
elements like, shape, color, texture, and size.
In this study the architectural space is discussed
through these two basic forms of space by utilizing three
concepts; Conciseness, Continuity and Compatibility; as a
whole and overarching architectural space analyses. These
three concepts called as 3C's of Architectural Space,
which are considered as the integrated structure for ana-
lyzing the meaning of architectural space. They proposed
as the key concepts in de ning the essence of space not
only as a building envelope, but also as a sociological,
cultural and ideological entity that are all considered as
the main features of spatial and corporeal form of space.
The rst concept Conciseness is about the quality of be-
ing clear and understandable that re ects the clarity and
lightness of the space. The second concept Continuity is
mainly about the connection of the objects, actions that
have a proximity or similarity in space. Term covers integ-
rity and movement. Compatibility is about integration of
the design form with its physical settings considering the
ideological and historical values, principles. The concept
covers the terms; harmony, ensemble and palimpsest.
64
3. Conciseness
The term conciseness is about the quality of being clear
and easy to understand: clarity, intelligibility, (Macmillian
dictionary, 2018). This term has chosen for to state the
essence of use and form, clarity, lightness, openness, ac-
cessibility, simplicity and transparency. The term refers to
program, function, atmosphere, but also about the mean-
ing of the architectural solution. Moreover, the concept is
also about integration of the reality in the abstraction of
the form. Günter Behnisch Vogelsang Elementary School
in Stuttgart/ Germany is an example, as it is the expression
of purity and clarity of material and tectonic expression
that the expression of this absence creates a quiet impres-
sive feeling. (Picture 1). The simplicity of construction,
clarity of material and spatial emptiness is quiet stimulat-
ing. It also conveys plural beauty, with simple geometric
shapes and demonstrates that simple can be beautiful. A
building is simple not because its shapes conform to el-
ementary geometry, not because all of it is immediately
visible, or because the logic is evident in its connections.
Figure 1. The Main Entrance (photo on the right) and
Entrance Hall from inside (photo on the left) of Vogelsang
Elementary School, Stuttgart Germany, Architect: Günter
Behnisch, 1961 (Source: Author's achieve, 2017)
The concept conciseness is also related to the trans-
parency that is variously attributed to material properties:
the literally 'see through' capacity of glass; the necessary
structural condition for democratic systems; and positions
of intellectual and philosophical engagement (Wainwright,
2011, p. 32),. Transparency also brings to the fore the
systems and structures of spatial, political and cultural
organization which form an invisible base supporting the
idea of democratic cultures. According to Forty (2000:
286) literal transparency; meaning to light, allowing one
to see into or through a building, was made possible by
the development of frame construction and techniques
for xing large areas of glass. Phenomenal transparency;
implies more than an optical characteristic, it implies a
broader spatial order.(Forty, 2000, p. 287). Besides these
two features; transparency approved as a structural condi-
tion for democratic systems and positions of intellectual
and philosophical engagement. (Wainwright, 2011, p. 32).

Figure 2. Plenary Chambers, Bonn, Germany, Architect:
Günter Behnisch (Source: Author`s Archive, 2017)
As the symbol of democratic architecture Günter Beh-
nisch use transparency as the principal of his architectural
analogy. He do so because the ideological thinking sup-
porting transparency posits the new architecture as the
antithesis of historic state buildings the embodiment of
democratic values, and the symbol of the open society.
(Barnstone, 2006) (Picture 2) His transparency is a met-
aphor for the desired condition, as in political discourse
where it is equated with openness, accessibility, and plu-
ralism.
4. Continuity
Continuity is an uninterrupted connection, succession,
or union (Merriam-webster dictionary,2018). The term
refers to the connection of the objects, actions that have
a proximity or similarity in space. A spatial continuity is
about creating a sequence of motion systems, connection
points, and spatial relations making the promotion and
modi cations in the metaconscious sense of order possi-
ble (Ardalan & Bakhtiar, 1973). Additionally, continuity
is a principle that structures the reading of spaces that
make it to construct a coherent and continuous mental
image of the world and the situation. (Vinot & Conversy,
2015). Moreover, Sözmener (2012: 41) states that objects
in space couldn't design independently from another,
whether xed or portable, moreover relationship between
in each other should be forefront. Elements that setup the
structure (walls, oors, columns, beams, etc.) have to be
parts that complete each other, not parts that coupled each
other. The continuity of these elements from the interior to
exterior and exterior to interior, expanding the detection
limit of space and create integrity between interior and
exterior. Accordingly Vinot & Conversy (2015) declares
that, the idea of continuity refers to a subject's ability to
"link" objects, actions or events that exhibit a proximity
or similarity in space or in time, to make it the parts of a
whole.
Phaeno Science Center, Wolfsburg , in Germany is an
Research Paper
Figure 3. Phaeno Science Center, Wolfsburg, Germany,
Architect: Zaha Hadid (Source: Author's Archieve, 2017)
example to the continuity ,where circulation is stimulated
by free space between the stanchions, as well as by the
dynamic pointed form of the building (Buchert, 2013, p.
142). The interior space is a continuous formation with
platforms, countered and inclined adjoining level forma-
tions for an overall spatial constellation, allowing people
to move freely. (Buchert, 2013, p. 142). Here continuity
refers to the uidity of the design form that is integrated
with the movement and links in the space. Movement
through the building is a way of organizing one's experi-
ence of it, of orienting the body in relationship to some-
thing outside of itself. And also movement through the
space is offering a discrete scheme that creates a dialogue
and connection with a particular context.
5. Compatibility
Compatibility is the capable of existing together in harmo-
ny`. (Merriam-Webster dictionary,2018). The concept
is about integration of the design form with its physical
settings considering the ideological and historical values,
principles. The term refers to harmony, ensemble and pa-
limpsest in spatial and corporeal form of the building. The
term ensemble comes from French word―ensemble and it
means ―mutually harmonious composition (Bahronovich,
2015, p. 109). Olympic stadium in Munich is an example
of an architectural space that has an excellent integration,
ensemble between natural environment and the design
structure itself. Lin (1989) asserts that in Behnisch's work
(Olympic Park), the continuous built-up roof exaggerated-
ly shelters a recreational area. This led to the idea of creat-
ing an atmosphere of openness, clarity and ensemble. The
design idea was developed to embed the buildings in the
landscape (Picture 4) . The aim was not individual build-
ings, but an architectural landscape that covers different
forms of use. (Eckart, 2016, p. 149). Moreover the facility
offers a closed appearance and be closely interwoven with
the urban fabric: the urban functions coming from outside
- green corridors, waterways, roads, footpaths, cycle paths
65
Frontiers Research of Architecture and Engineering Volume 01 Issue 02 April 2018
- are grasped and intensi ed in the terrain. The powerful
movement of the existing hill is absorbed and guided
through the area as a defining, three-dimensional form.
(Eckart, 2016, p. 150).
Figure 4. Olympic Stadium, Munich, Germany Architect:
Günter Behnisch (Source: Author's Achieve, 2017)
Compatibility of space is also about connecting the
past, present and future of the building itself being as a
socio-cultural entity. As the powerful idea of compatibil-
ity, palimpsest is about an ongoing process of rewriting
through time, thus linking the past with the present and fu-
ture. Particularly in the contemporary architecture the idea
of palimpsest becomes important for designers because it
works throughout all scale levels. "Regarding buildings as
palimpsest implies to read them as processes." (Verheij,
2015, p. 20).
Sandler (2016: 105) declares that the theme palimpsest
is related to but identical to the concept of multi-layering.
It is a constant process of erasure and rewriting scraping,
and reinscription. Palimpsest was used in the works of
the architects such as Daniel Libeskind, Zaha Hadid that
interpreted at field of architecture including social, his-
torical, and physical ground. This group of architects be-
lieved in context, which is living, and dynamic entity with
unique ability to record the events that could have acted
like continuation of peripheral memory (Rapoport, 1982;
cited in Arbabiyazdi & Pisheh, 2012: 1634). Having a so-
phisticated coincide with the roles of museum, monument
and memorial, Jewish Museum has contemplation on the
museum's role in both representing and covering memory.
(Stead, 2000, p. 2) (Picture.5) . Libeskind expresses the
purpose of the museum as below;
"The museum attempts to give voice to a common fate:
common to both what is being and what are other than
being. The museum must not only inspire poetry, music,
drama, etc. but also give home to the contradictions of the
ordered/ disordered, the chosen/ unchosen, and the wel-
come / unwelcome the vocal / silent. In this sense the par-
ticular urban condition becomes the spiritual site wherein
the nexus of Berlin's destiny is at once mirrored, fractured
and transformed". (Libeskind, 1990, p. 48)
Libeskind calls the project 'Between the Lines', which
66
is the expression of two intersecting 'lines'. These lines
signifying German and Jewish histories that are integrated
within. (Libeskind, 1990 ). As the building has a multi-
layered structure, it has an intention to link the past and
present by the means to construct a bridge through the
time with its fractured and transformed entity. Brie y, the
building has a strong discourse reflects how landscapes,
buildings and objects are layered through the passage of
time. It makes us aware of the integration of many differ-
ent layers with its spatial and corporeal feature.
Figure 5. Jewish Museum, Berlin, Germany, Architect:
Daniel Libeskind (Source: Author`s Archive, 2017)
6. Conclusion
This study is an attempt for reconsidering the meaning of
architectural space where it is interpreted by three new
concepts: Conciseness, Continuity and Compatibility. The
reason for developing these three concepts is about rem-
edying the de ciency in literature on architectural space
that is mostly concerning the particular facets of the space.
By the contents and intentions of these three concepts, ar-
chitectural space could be interpreted as a whole structure
that covers all two main dimensions of architectural space
as spatial and corporeal form. Through the help of these
key concepts, the essence of space is discussed not only
as a building envelope, but also as a sociological, cultural
and ideological object that are all considered as the main
features of the architectural space. More importantly,
these conceptions assessed the design as a form of associ-
ated ideas of the work as a vigorous commodity.
ACKNOWLEDGEMENTS
This study is the part of research project supported by
Eskisehir Osmangazi University, Scientific Research
Commission with project number: 2017-1678, titled as
"Re exivity in the German Architectural Design Culture,
Contemporary Dimensions of Günter Behnisch Archi-
tecture" conducted by the author at Leibniz University,
Hannover, Germany between August 2017 to April 2018,
under the supervision of Prof. Dr.-Ing. Habil. Dr. Phil.
Margitta Buchert.

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67